Our pal Marvin Rosen says: “I am all packed and ready to leave home for WPRB. In a little over an hour, the 2016 VIVA 21ST CENTURY PLUS – “INTERNATIONAL EDITION” – 25-HOUR LIVE WPRB RADIO BROADCAST – goes on the air.
Hope that you can join me for at least for parts of program and please keep me awake at least over night. You can contact me on Facebook, Twitter @MarvinRosen or just call: 609.258.1033
On WPRB 103.3 FM Princeton NJ, or on the Internet at: http://wprb.com/
My piece, Quintet 2, will be featured around 3 PM. Hope you’ll tune in!
NEW YORK – On December 18th, Boston-based early music ensemble Blue Heron appeared at Corpus Christi Church as part of Music Before 1800’sseries there. Their program, titled “Christmas at the Courts of 15th century France and Burgundy,” featured polyphony and plainchant that celebrated the Advent and Christmas seasons. Led by Scott Metcalfe, the fifteen-person ensemble was frequently broken into subsets and often sang without use of a conductor. Metcalfe instead led much of the proceedings from behind a harp or alongside the singers, setting the pace in alternatim hymn settings by Guilliame Du Fay, antiphonal pieces with a large group of unison singers and a smaller group of soloists.
The first half of the concert featured music based on the O Antiphons, a collection of eight melodies that fall in the liturgical calendar as the chants that lead us from Advent to Christmas. Each verse of the famous hymn “O Come, O Come Emmanuel” features text from one of these antiphons. The polyphonic pieces that followed the chants employed material associated with the O Antiphons. Jacob Obrecht’s Factor Orbis quoted two antiphons, as well as a plethora of other texts and tunes, including a secular one bound to please the composer’s patron. Josquin Desprez’s O Virgo Virginum setting focused on just one antiphon, the eponymous eighth chant reserved for Christmas Eve in the Medieval Church (most denominations have since winnowed the number of O Antiphons from eight to seven in their respective liturgies). A six-part motet, O Virgo Virginum features stirring antiphonal passages for two trios and a veritable tapestry of interwoven short melodic motifs sung against the chant. Ave Maria gratia plena, by Antoine Brumel, was sung by three of the women of Blue Heron, providing an attractive timbral contrast to the preceding male-dominated selections.
In the Christmas section of the concert, split among the two halves of the program, the five-voice motet O admirabile commercium/Verbum caro factus est by Johannes Regis served as a centerpiece, with two other pieces that emulated it presented as well: the aforementioned Obrecht motet, and Brumel’s Nato canunt omnia. Like Factor Orbis, the other two motets featured multiple texts, chants, and interwoven melodies. Blue Heron presented these mélanges of material with enviable skill, allowing the complex counterpoint to come through with abundant clarity.
To celebrate New Year’s Day, nobles from Fifteenth century French and Burgundian courts exchanged lavish presents, including commissioned vocal works. In a section spotlighting these gifts, called estraines, the audience was treated to an assortment of chansons by Dufay, Nicholas Grenon, Guilliame Malbeque, Baude Cordier, Johanna Tinctoris, and Gilles Binchois. For these selections, instrumentalists joined Blue Heron: Metcalfe playing harp, Laura Jeppesen vielle and rebec, and Charles Weaver lute. The variety of textures obtained by the various ensemble groupings in this section of the program was lavishly multifaceted.
Likely the earliest of the selections on the program (apart from the encore), Johannes Ciconia’sGloria Spiritus et alme was redolent in Lydian cadences. The resulting raised fourths and heightened sense of dissonance gave Blue Heron the opportunity to show off their use of just intonation in particularly splendorous fashion. Chords shimmered and melodic lines underscored the slightly unequal nature of the temperament’s half steps. It made for an extraordinary sound world. On the other end of the chronological spectrum, Adrian Willaert’s Sixteenth century motet Praeter rerum seriem featured seven-voice counterpoint. The thickened textures contained chant in a three-voice canon and sumptuous doublings of chord tones from the other four voices. The performance was truly transportative. As Metcalfe’s informative program notes pointed out, the piece’s seven-voice texture had another component of showmanship besides the obvious requisite compositional virtuosity: it contains one more voice than Josquin’s motet on the same text.
The concert ended with an encore from the Fourteenth century: Laudemus cum Armonia. The entire cohort of musicians raised their voices in song, making a most thrilling sound. It was an impressive end to a superlative performance.
The next concert on Music Before 1800’s series is on Sunday, January 15, 2017 at 4 PM, when baritone Jesse Blumberg joins instrumental ensemble ACRONYM in a program devoted to music by Johann Rosenmüller. Blue Heron returns to Corpus Christi on October first: the week before my birthday. I certainly plan to make it my business to hear them again.
Mary Bevan and Joanne Lunn, sopranos; Clare Wilkinson and Ciara Hendrick, mezzo-sopranos; Nicholas Mulroy and Thomas Hobbs, tenors; Matthew Brook and Konstantin Wolff, bass-baritones. Dunedin Consort, conducted by John Butt.
Linn CKD 499 (2xCD)
First, I’ll admit that at Christmas Messiahhas most often been my jam; I have several recordings, have performed it as soloist, accompanist, and conductor, and find it to be one of the most uplifting pieces out there. This year the Dunedin Consort, led by John Butt, has changed my tune. I’ve listened over and over again to their new recording of J.S. Bach’s Christmas Oratorio.
The oratorio is actually a collection of six cantatas that were performed during a particularly festive Christmas in 1735. They cover Sundays from the beginning of the Christmas season to the Feast of the Epiphany. Butt has chosen to perform them with eight soloists, four each alternating between the successive cantatas, and four ripieno singers. The use of a relatively small complement of vocalists lines up with current Bach scholarship. Butt primarily employs soloists with two to a part in passages like the chorales. This emphasizes the contrapuntal character of the vocal parts, treating the cantatas as chamber music rather than the large choral works that they are sometimes presented as in less period-informed settings. (Butt’s notes on the history of the Christmas Oratorio and his particular performance choices for the recording make for fascinating and enlightening reading).
Chamber music yes, but the instrumentation is both varied and vivid. Part One features virtuoso trumpet parts and timpani, the second extensive writing for woodwinds, the fourth buoyant horn duos and an “echo aria” with an extra soprano, and the last cantata returns to the use of brass and timpani in its climactic passages (it also features an oboe solo during the standout soprano aria “Nur ein Wink von seinen Händen,” beautifully sung and played by Mary Bevan and Alex Belamy, respectively).
Butt elicits a performance from the soloists and Dunedin Consort that is fleet-footed yet flexible, cleanly rendered yet never overly cool. Indeed, some of the recitatives and solos are quite emotively delivered. The conductor has also wisely chosen soloists who complement both the textual and textural aspects of each of the cantatas. For instance, Nicholas Mulroy is the more forceful of the two tenors. He balances well with the defiant music and ebullient orchestration of Part Six, while the more sweet-voiced Thomas Hobbs is sure-footed in the fluid recitatives and arias of Part Four. While each singer brings a different timbre and demeanor to the table, they blend seamlessly in the ensemble passages and to a person share exquisite tone and abundant musicality.
This is a recording that made me completely rethink my impressions of the Christmas Oratorio. Now, instead of writing it off as the lightweight cousin of the Bach Passions, I am ready to consider alongside the composer’s best known choral music, going toe to toe with them both in terms of ambition and quality. Recommended holiday or anytime listening.
A new Christmas song from our favorite slowcore Mormons:
“To friends who have moved away and friends who have passed on this year. To one and all, especially those who are alone, we wish you a Merry Christmas and new hope for the new year. May we all find ways to lift each other.
NEW YORK – On December 10th, the Tallis Scholars found themselves in a bit of a quandary. Scheduled to give their annual Renaissance Christmas concert as part of Miller Theatre’s Early Music Series at Church of St. Mary the Virgin, the ten-voice ensemble was decimated to nine. Long-time member bass Robert Macdonald was ill and had been rendered voiceless. Peter Phillips, the Tallis Scholars’ director, quipped from onstage that unless he sang, which the rest of the singers “felt unwise,” the group’s other bass, Tim Whiteley, would have to go it alone. MacDonald did not appear to be the only member suffering. During the course of the concert, there were several sniffles onstage and far more water being chugged than is the group’s usual practice. Gamely they had decided to appear regardless.
There was yet another wrinkle to the story. During the first half of the concert the Tallis Scholars had planned to feature Cipriano de Rore’s Missa Praeter rerum seriem, a composition that includes many divisi, including a number of passages where each bass has his own part. A substitution was in order, and the solution was a welcome one: Giovanni Perluigi da Palestrina’s Missa Assumpta est Maria. One of the composer’s last works, it demonstrates his movement from a more modal to a quasi-tonal harmonic method of organization. Although outnumbered, Whiteley never seemed vocally outgunned. Indeed, the Tallis Scholars’ long association helped them to rebalance their forces in seemingly effortless fashion. The clarity of lines and fine-tuned chords which resulted were truly remarkable sounding.
Although the audience had been deprived of De Rore on the first half, the second provided some compensation with a sprightly, joyous rendition of his Hodie Christus natus est setting. Magnificat Primi Toni, by Tomás Luis de Victoria, features antiphonal division of the choir into two four-part units. Fortunately for this occasion it doesn’t include bass divisi, but there are some stellar passages for high sopranos that arched angelically upward, as well as sturdy tutti declamation.
Victoria, Palestrina, and even de Rore are familiar composers to many Renaissance listeners, but the next two selections on the program, both Salve Regina settings, were composed by figures who aren’t yet “household names.” Based on the quality of these works alone, they should be. Claudin de Sermisy’s Salve Regina was filled with imitative counterpoint, including four-voice canons and fetching duets, which were delivered with abundant precision by the Tallis Scholars. Hernando de Franco, a Spanish composer who resided in Mexico, must have enjoyed setting the Salve Regina text – or at the very least been frequently requested to do so – there are five of them attributed to him. Here, chant was weaved into the fabric of the piece, interspersing thick-voiced passages of contrapuntal activity.
The concert concluded with O Splendor Gloriae, a composition that appears to have been a collaboration between John Taverner and Christopher Tye. The piece never feels like a ragtag assemblage, but there are significant differences among its various sections. O Splendor has a long-ish text, describing the Creation story from the Fall to Christ’s Resurrection and Ascension. Even after such a taxing program, and under harried circumstances, the Tallis Scholars brought a warm sound to bear here. This is no mean feat, as the work contains a number of high-lying lines. In addition to the sopranos who sustained these, Whiteley must be commended for his efforts. The bass brought sonorous support to the work’s chordal passages and hardy declamation during sections for subsets of the ensemble. It was a testament to the Tallis Scholars’ consummate professionalism that, despite challenging circumstances, they made such stirring music.
The Patchhas picked up the Princeton campus story. It appears that resistance to the consolidation of Rider University into a single campus is mounting.
NJ.COM has an interesting story, posted just before the news about possible consolidation. about the recent renovation of the Playhouse, for which Rider applied to receive state funding and took other fundraising measures. In the article, one of the investors is quoted: “People don’t realize what a gem is right here,” said Cynthia Ricker, Investors Bank Vice President and Lawrenceville Branch Manager. “The performances Westminster Choir College puts on in The Playhouse and elsewhere are world class.”
Let’s hope they remain world class – and in the Playhouse.